What we know (and don’t know) about NTTD’s music

Daniel Craig/James Bond character poster

(Corrects to note Dan Romer listed in August press release.)

One of the main unanswered questions about No Time to Die is who will do the music. There’s been a lot of smoke but no definite answers.

So, here’s a recap.

1. IndieWire reported July 2 that Dan Romer had the job. The same day, Romer put out a tweet thanking IndieWire and said he was “very excited for this year.”

2. An August press release about the title No Time to Die lists Romer as composer.

3. The James Bond Radio fan website on Nov. 1 says it has heard Romer has departed the project. But the website also says to take the development with a grain of salt. Romer’s Twitter account is of no help. Its last post was on Sept. 6.

4. David Arnold, a five-time Bond film composer (and a fan favorite), says Dec. 4 on Twitter he hasn’t been approached about working on No Time to Die. “I can sit back and enjoy it with everyone else,” he writes.

5. Anton Volkov, founder of TrailerTrack (@antovolk), posts a Dec. 27 tweet saying “there’s some smoke” that someone affiliated with Hans Zimmer’s Remote Control Productions may be doing the No Time to Die’s score.

One of the sources is a message board at Zimmer’s website. The site administrator reportedly is close to Zimmer.

6. One question is whether we’re talking about Zimmer himself or another composer affiliated with his Remote Control Productions company. For background about Remote Control, CLICK HERE to view a 2014 story by Variety.

7. James Bond Radio comes back with a Dec. 28 tweet saying it doesn’t know who the composer is, just that it’s not Zimmer but “one of his guys” at Remote Control. The tweet includes a link to composers affiliated with Remote Control.

One of the 63 composers shown on the Zimmer website page is Tom Holkenborg, known professionally as Junkie XL. Holkenborg and Zimmer shared the composer credit for 2016’s Batman v Superman: Dawn of Justice. Holkenborg was supposed to score 2017′ Justice League but got replaced by Danny Elfman.

Another one of the Remote Control composers is Lorne Balfe, the credited composer for 2018′ Mission: Impossible-Fallout.

UPDATE (10:15 a.m., New York time, Dec. 29): On Dec. 25, Film Music Reporter had a story about Dan Romer’s latest project, Wendy. It does not list No Time to Die as among Romer’s credits. h/t MI6 James Bond website, which mentioned in a story.

Henry Cavill on Bond, U.N.C.L.E. and Superman

Henry Cavill and Armie Hammer (art by Paul Baack)

Men’s Health is out with a long feature story about actor Henry Cavill. He was once up for playing James Bond (losing out to Daniel Craig), played Napoleon Solo in a movie version of The Man From U.N.C.L.E. and was Superman in three films.

Various entertainment outlets have chewed up the story into bite-sized pieces about various topics. Here’s a roundup.

On auditioning for Bond in Casino Royale: Cavill was in his early 20s when he tested for the role of Bond. Chances are he didn’t stand much of a chance given how Eon Productions boss was pushing for Daniel Craig. The story has this passage:

To screen-test, he had to walk out of a bathroom wrapped in a towel and reenact a scene from one of the Sean Connery–era films. “I probably could have prepared better,” Cavill says. “I remember the director, Martin Campbell, saying, ‘Looking a little chubby there, Henry.’ I didn’t know how to train or diet. And I’m glad Martin said something, because I respond well to truth. It helps me get better.”

Sounds like he was probably talking about the seduction scene of From Russia With Love, which is one of the standard Bond screen test scenes.

On The Man From U.N.C.L.E. (2015): The article says the movie, while not a big hit, helped Cavill’s career.

It wasn’t until the big-screen remake of the TV show The Man from U.N.C.L.E. that viewers got an idea of the actor’s innate playfulness. Cavill played a swanning, conning American agent named Napoleon Solo. And although it wasn’t a hit, it marked a crucial moment in his career. As Solo, he was droll, at ease, and effortlessly sexy.

Watching U.N.C.L.E., says director Christopher McQuarrie, led him to cast the actor as the evil-genius villain of Mission: Impossible—Fallout. “Something in Henry’s comic timing told me he had talents that weren’t being exploited,” says McQuarrie. “I found he had a charming sense of humor—at which point I knew he could be a villain. The best villains enjoy their work.”

Whether he’s still Superman: Cavill played Superman in Man of Steel (2013), Batman v Superman (2016) and Justice League (2017). There are no outward signs whether he’ll be back. An excerpt:

“I’ve not given up the role. There’s a lot I have to give for Superman yet. A lot of storytelling to do. A lot of real, true depths to the honesty of the character I want to get into. I want to reflect the comic books. That’s important to me. There’s a lot of justice to be done for Superman. The status is: You’ll see.”

What next for Henry Cavill?

“We want that cape back!” “Mr. Warner” said.

Henry Cavill may be turning in his Superman cape after “Mr. Warner” (Warner Bros.) decided to go in a new direction for its movies based on DC Comics characters. At least The Hollywood Reporter is reporting that Cavill is out. Neither side confirmed the development to the entertainment news outlet.

Cavill, 35, played Superman in three movies, Man of Steel, Batman v Superman: Dawn of Justice and Justice League. When not portraying the hero, Cavill has moonlighted playing spies: Napoleon Solo in The Man From U.N.C.L.E. and Tom Cruise’s adversary in Mission: Impossible-Fallout. And, of course, he’s a perennial name in the “Who Will Be the Next James Bond?” sweepstakes. He screen tested for Bond in his 20s for Casino Royale.

Assuming THR is correct, what’s next for the Britis actor who often plays Americans? He’s part of a Netflix project, The Witcher. But does he have prospects for other franchises?

Warner Bros. perhaps hoped U.N.C.L.E. might become a franchise. Cavill stepped into the Solo role when Tom Cruise took a pass to concentrate instead on 2015’s Mission: Impossible Rogue Nation.

That M:I film opened just two weeks before U.N.C.L.E. and was a major factor in the latter under-performing at the box office. There’s occasional chatter about doing an U.N.C.L.E. sequel despite that. Still, that would seem a long shot.

Based on the ending of Mission: Impossible-Fallout, it would seem a Cavill appearance in a seventh M:I film is unlikely. Which brings up to the inevitable Bond discussion.

Despite the fact there’s no vacancy (Daniel Craig is to star in Bond 25), the British press loves to pose the question of future Bond possibilities. And British bookies love to take bets, generating still more publicity.

Anecdotally, I’ve encountered people who love Cavill and others who decry him as a block of wood. Regardless, given the current pace of 007 film production, who knows when Cavill would even have a chance?

That’s show business, I guess.

UPDATE (12:45 p.m. New York time): Cavill’s agent says not so fast.

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UPDATE II (1:05 p.m. New York time): The io9 Gizmodo site received the Warner Bros. statement about Cavil. “While no decisions have been made regarding any upcoming Superman films, we’ve always had great respect for and a great relationship with Henry Cavill, and that remains unchanged.”

Doesn’t appear to say a whole lot.

 

With Solo, Star Wars comes back down to Earth

Solo: A Star Wars Story is being lumped with Justice League as an example of a pricey movie that’s not generating the kind of box office it needs.

The movie, which provides the back story of Han Solo, is estimated to produce $83.3 million in the U.S. market for the May 25-27 weekend, according to Box Office Mojo, which compiles such information.

Last November, Warner Bros.’s Justice League generated $93.8 million for its opening U.S. weekend. At the time, that was the poster child for a movie that’s reasonably popular (almost $658 million in global box office) but a financial bomb because of a huge budget (estimated to be as much as $300 million).

Until now, Star Wars has been seen as a sure thing. Walt Disney Co. bought Lucasfilm Ltd. for $4 billion for that reason.

Under Disney ownership, Star Wars output has sped up. Previously, Star Wars movies came out in three-year intervals. And there was a long hiatus between the first trilogy (1977-1983) and the second (1999-2005).

Now, the main Star Wars movies come out every other year. In between, there are one-offs that expand upon the basic story line.

Solo wasn’t an easy production. Its directors were fired. Ron Howard was brought in to replace them and re-shot most of the movie.

With the movie out, Scott Mendelson of Forbes.com declared Solo had bombed. 

“Disney already killed Han Solo once–He’s gone for good now,” Exhibitor Relations, which analyzes box office data wrote on Twitter. “So long, SOLO.”

Normally, action-related movies do well in the big China market. No so, Solo. “China Box Office: ‘Solo’ Combs With Third-Place $10.1M Opening,” was the headline in The Hollywood Reporter.

Now the question is being raised whether Star Wars movies are coming out too often. 

The Exhibitor Relations tweet also adjusted the opening of previous Star Wars movies for inflation to demonstrate how Solo shapes up.

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Justice League: Epilogue

Justice League movie logo

Well, the Justice League’s soap opera has come to an end and it’s not looking pretty from a financial standpoint.

After three weekends in the U.S. the Warner Bros. superhero movie has an estimated box office of $197.3 million.

For the average film, that’s great. But when the budget is an estimated $250 million to $300 million, not so much.

By contrast, Warners’ 2016 Batman v Superman generated $166 million on its opening weekend.

Justice League’s opening weekend  was $93.8 million. Again, great for most movies. But it failed to match the opening weekend of other films based on DC Comics characters such as Man of Steel, Suicide Squad and Wonder Woman.

Justice League is the big DC team of heroes, comprised of its leading characters. Compare it to Marvel’s The Avengers in 2012, which had an opening weekend of $207.4 million. Its sequel, Avengers Age of Ultron, had a U.S. opening weekend of $191.3 million.

The two Avengers movies had ultimate global box of more than $1 billion ($1.5 billion for the first, $1.4 billion for the second).

Justice League may end up at less than half of that. Forbes.com estimates it will generate less than the $668 million global box office of 2013’s Man of Steel.

The lesson? Nothing’s a sure thing. Justice League didn’t lack for effort. It was the effort of two directors, Zack Snyder and Joss Whedon. (Whedon isn’t credited but does share in the screenplay credit).

The latter directed those two billion-dollar Avengers films. So he ended up re-shooting much of the movie. But, at least at the box office, Whedon’s sensibilities and style didn’t transfer to Justice League.

Justice League’s motto: Do no harm

Justice League movie logo

No major spoilers but the spoiler adverse should pass this up.

The subtitle of Justice League could be “Do No Harm.” One of the main missions of the film seems to be to repair the damage done to DC Comics characters in 2016’s Batman v Superman: Dawn of Justice.

In that regard, Justice League succeeds.

(OK spoiler sensitive types bail out now.)

The film brings back Superman who had died at the end of Batman v Superman. What’s more, he’s brought back (after an understandable period of adjustment) as being….well, Superman.

With 2013’s Man of Steel and Batman v Superman, the Man of Steel was full of self doubt, unsteady and, at times, not very Superman-like. In Justice League, Henry Cavill’s Superman costume looks like it has been cleaned. It looked dirty in his previous two appearances.

Even better, Superman embraces being a hero. That’s what Superman does. The movie doesn’t have Clark Kent wink at the audience, the way comic book Clark Kent did decades ago. But it’s a big improvement. And Superman actually isn’t in the movie that much.

Other characters do a lot of the heavy lifting. Gal Gadot’s Wonder Woman understandably carries a lot of the load. Jason Momoa grabs attention as Aquaman, a character general audiences probably aren’t that familiar with. Ezra Miller brings a neurotic take on the Flash.

Finally, there’s Ben Affleck’s Batman. The actor took much of the brunt of criticism for Batman v Superman, which depicted the character at times as a homicidal maniac. The “do no harm” label applies here as well. Batman is more on an even keel (well, as much as a guy who dresses up in a Bat costume can). The new-look Affleck/Batman even shows some compassion at times.

The production of this film has been a bit of a soap opera. Extensive rewrites and reshoots. A large budget, raising doubts whether this movie will ever earn a dime of profit. And even having Henry Cavill’s mustache (grown for Mission: Impossible 6) digitally erased in the reshoots.

And, of course, there has been plenty of speculation whether Affleck will return as Batman. Intentional or not, a scene in the film evokes this when Affleck’s aging Bruce Wayne acknowledges he can’t keep being Batman much longer.

In the end, the movie makes the viewer forget the soap opera. That may be the biggest compliment one can provide. GRADE: B-Plus.

Some critics get out the knives for Justice League

Justice League movie logo

Some critics have gotten out the knives for Justice League, the Warner Bros./DC Comics movie debuting this week.

Rotten Tomatoes is waiting a bit to unveil its “fresh” rating for Justice League. So it’s hard to tell how representative these non-spoiler excerpts are.

Still, it’s clear some critics are feeling no restraint. (One headline: “‘Justice League’ Is a Big, Ugly Mess.”)

RICHARD LAWSON, VANITY FAIR: “The film is, plainly stated, terrible, and I’m sorry that everyone wasted their time and money making it—and that people are being asked to waste their time and money seeing it. I hate to be so blunt, but it simply must be said this time.”

ALONSO DURALDE, THE WRAP: “(I)f you like your superhero battles in deep dark tunnels or under skies purple with alien soot, director Zack Snyder is back with yet another installment that looks the way Axe body spray smells.”

CHRIS NASHAWATY, ENTERTAINMENT WEEKLY: “Some day, hopefully soon, DC will get the recipe right again and duplicate Wonder Woman’s storytelling magic. But today isn’t that day, and Justice League unfortunately isn’t that film. C+”

MATT GOLDBERG: COLLIDER: “In place of disaster, Justice League is a largely bland, forgettable affair that has nice moments scattered throughout and the promise of a better tomorrow, but outside of Wonder Woman, that’s all the DCEU ever really offers: the promise that the next movie will be better. And sure, Justice League is better than Batman v Superman, but that doesn’t make it good.”

GEOFFREY MACNAB, THE INDEPENDENT: “This is surely the most infantile of recent superhero yarns – a film that squanders the talents of an impressive ensemble cast and eschews any meaningful characterisation in favour of ever more overblown special effects.”

To be fair, some critics have liked the movie. Here’s a sampling. Some of these are mixed (or have caveats), but here are complimentary excerpts:

MARK HUGHES, FORBES.COM: Justice League “retains enough of the DNA of the previous (DC-based) films to be recognizable as their successor, while carving out a new space closer to the tone and style of action-adventure superheroism found in Wonder Woman. And it offers average movie-goers the sort of chest-swelling sense of heroism and pure joyful entertainment they love and reward with their hard-earned dollars at the box office.”

OWEN GLEIBERMAN, VARIETY: “The film is the definition of an adequate high-spirited studio lark: no more, no less. If fans get excited about it, that may mostly be because they’re excited about getting excited. Yet the movie is no cheat. It’s a tasty franchise delivery system that kicks a certain series back into gear.”

TASHA ROBINSON, THE VERGE: “And taken as a whole, Justice League is often thrilling and rousing, with few of the outright infuriating twists that have made past DCEU movies so frustrating…For once, the heroes have a relatively black-and-white battle ahead of them, without existential questions about whether humanity deserves saving, or whether they deserve to save humanity. And that lets the characters cut loose in a triumphant barrage of over-the-top carnage that shows them each to their best heroic potential.”